Todd Walton: Art Rant (includes favorite films)


From TODD WALTON
Under The Table
Mendocino

Books

Rae’s eyes were red and swollen. They sat on the couch side by side, in silence, waiting for the doctor.” from Crooked Little Heart by Anne Lamott

The silence of the eyes rings true, and the eyes being side-by-side seems plausible, but how in heck did those eyes get onto that couch without Rae?

I was thirteen and had devoured a thousand books before I discovered the first typo of my reading career, an error that struck me as a scandalous affront to the artistry of writing. I was an insatiable reader, and wanting to be a professional writer I did not skim, but read every word. And when I found passages that wowed me, I copied their lines longhand to teach my sinews the feel of great writing.

“The pallor of hunger suited Kim very well as he stood, tall and slim, in his sad-coloured, sweeping robes, one hand on his rosary and the other in the attitude of benediction, faithfully copied from the lama. An English observer might have said that he looked rather like the young saint of a stained-glass window, whereas he was but a growing lad faint with emptiness.” from Kim by Rudyard Kipling

Nowadays I am surprised if I read a book from a corporate press and don’t find grammatical errors galore with typos sprinkled throughout. I was recently told I must read the stories of Jhumpa Lahiri, a current darling of the New York literati, a writer with myriad awards to her credit, including a Pulitzer. I dutifully ordered her most revered collection of short stories, and after wading through several introductory pages of praiseful blurbs from influential magazines and newspapers—the word miraculous appearing in several of the blurbs—I entered a grammatical minefield that rendered her half-baked stories unreadable for the likes of me.

I complained of Ms. Lahiri’s failings to Marcia, my wife who is so patient with me when I rant about the decline and fall of our culture. Marcia calmly considered my condemnation of the writer and said, “Maybe you just don’t like her style.”

Indeed. Clunky composition featuring profligate use of the word “it”, pronoun confusion, place confusion, time confusion, inadequate descriptions of people and places, and lame depictions of action do add up to a particular style, but who needs it? And why would reviewers describe such stuff as miraculous? In two words: culture collapse.

Jhumpa Lahiri and Anne Lamott and countless other contemporary authors contracted by the corporate presses should be ashamed to publish books that have not been thoroughly and thoughtfully edited. Why aren’t they ashamed? You tell me.

Radio

“It’s not true I had nothing on, I had the radio on.” Marilyn Monroe

In 1966 I was lead singer in a rock band of sixteen-year-old boys. By our third rehearsal we knew we were fantastic and would soon be opening at the Fillmore for our favorite bands Jefferson Airplane and Quicksilver Messenger Service. After much deliberation, we settled on the name Joy Ride, though I was never certain if we were The Joy Ride or simply Joy Ride.

This was long before the advent of cassette tape recorders (now obsolete) so we recorded our loud songs on an Ampex reel-to-reel tape recorder and sent the one-of-a-kind tapes to Warner Brothers and Columbia Records so we would be discovered and made famous and have beautiful wonderful girlfriends who wanted to have sex with us day and night while maintaining their brilliance and creativity and innocence.

We had one gig before (The) Joy Ride broke up. The gig was a battle of four bands in a cavernous high school gymnasium. We were awesome, yet we lost the battle. The only possible explanation for our defeat was that the airheads didn’t get where we were coming from. Our one stalwart groupie said we reminded her of Jimi Hendrix and The Byrds rolled into one. No wonder we knew we were fantastic.

Embittered by our rejection by the airheads, I joined forces with a guitar player and wrote eleven amazing songs. We recorded our masterworks on that same reel-to-reel tape recorder and sent the tape to A&M Records because a friend of ours had a friend who knew someone’s friend’s cousin or uncle who worked there. Maybe the tape got lost in the mail, but more likely the record company airheads just didn’t get where we were coming from. In any case…

Fast-forward forty-five years. Having just produced two new CDs, I have been questing for likely DJs at likely radio stations to send our music to, my goal being to send forth a hundred packets, each containing our CDs and a heartfelt handwritten letter aimed at a specific DJ. So not Jazz is my collaboration with the aforementioned patient wife Marcia, her exquisite cello improvisations elevating our jazzy instrumentals and songs into the sublime, while 43 short Piano Improvisations is my solo adventure in musical haiku.

Whilst pursuing those rare DJs who might be open to music from the likes of us, I have visited over a hundred public radio station web sites and scrutinized several hundred DJ profiles and play lists. As of this writing, I have sent out sixty-seven packets and gained three DJ fans: one in Fort Collins, Colorado, one in Worcester, Massachusetts, and one in Astoria, Oregon. They have each played a tune or two of ours, and promise to play more. We are, in a word, thrilled.

As a result of my copious research, I have learned that if a radio station is an NPR (National Public Radio) affiliate and airs All Things Considered, they will probably be a kind of public radio Clear Channel with canned programming and zero interest in independent artists. But if a station airs Amy Goodman’s Democracy Now, there is a fair chance they will harbor one or more zany, curious, eclectic programmers. And then there are the entirely student-run college stations. I do not intend to approach any of these stations until our hip-hop metal reggae album Dread Metal YoYo is ready for release.

Movies and Plays

“Television has raised writing to a new low.” Samuel Goldwyn

John Simon is the author of my favorite one-sentence film review. In response to the movie Tommy, he wrote in Esquire, “Anyone who has anything good to say about this movie has nothing to say to me.” I feel this way about nearly all the American movies I’ve seen in the last thirty years, and that is because I have not been programmed to digest contemporary theatrical offerings.

Contemporary movies and theatre in America are now entirely conflated with television, the essence of which is physical and psychic violence, emotional superficiality, sexism, the deification of morons, verbal abuse disguised as humor, and non-stop brainwashing. Because I ceased watching television in 1969, the programming of my brain has not kept pace with the changing cultural mores. Thus contemporary American plays and movies, even those purported to be brilliant and deep and meaningful, almost always strike me as trivial and/or toxic.

I remember the precise moment I decided to forego television for the rest of my life. I was nineteen and on the verge of dropping out of college—academia antithetical to the likes of me. I was wandering the halls of my dorm looking for someone to accompany me on a late night stroll when I came to a lounge wherein a dozen young men and women were watching television. As I stood in the lounge doorway and watched the watchers, I was struck by the realization that these promising young people, four of them my best friends, were being lobotomized by the rays emanating from the television, their faces fixed in helpless idiocy.

Over the last thirty years, I have attended some two hundred plays in theatres large and small in New York and Los Angeles and Seattle and Sacramento and Berkeley and San Francisco, and most recently Mendocino, and I cannot bring to mind a single contemporary play written by an American that I believed in for more than a moment or two. Of the few hundred American movies I’ve seen since 1980, I can think of a handful I would call good, only a few great. Thank goodness we have access to foreign films (I consider the British foreign) so I do not entirely starve for good movies, though I am frequently hungry.

I am certain (having been privileged to read such manuscripts) that fine plays, books, and screenplays are still being written in America, but they are not, as a rule, produced or published or widely disseminated. And, yes, I have on rare occasions over the last forty years watched television, usually at the request of friends urging me to sample shows they say are fabulous, only to have my sense of the ongoing devolution confirmed.

Renaissance

“Every child is an artist. The problem is how to remain an artist once we grow up.” Pablo Picasso

If you so desire, you can overcome the televisionization of your psyche and revitalize your aesthetic taste buds. Having worked with many teenage and adult writers who were initially incapable of writing original stories with non-stereotypical characters and natural-sounding dialogue, and knowing the causes of their dysfunction to be television, corporate fiction, and contemporary American movies, I found that if I could convince my charges to eliminate these influences from their lives, creative rebirth was a virtual certainty. For teenagers, such rebirths may occur within weeks of their ceasing to imbibe the media opiates. For adults, such rejuvenation may take months. And I suppose the modern variants of television, iPads, cell phones, YouTube, etc. should be included in the list of influences to be minimized.

Our brains, in much the same way as ecosystems, will regenerate once persistent toxics and stresses are removed, and once you end your addiction to the opiates of the masses you will be astonished by the dramatic shift in your perceptions. However, there is the strong possibility you will feel left out of the cultural discourse about celebrities and the latest movies and books you can’t remember shortly after you ingest them, and you may feel isolated and lonely and desperate in the absence of all that you have become accustomed to. Fear not. Falling off the wagon is but a click of the On button and a badly written bestseller away.

[Todd reads books written by dead or very old or unknown authors and watches foreign films (and the occasional teen flick) in Mendocino.]

This essay originally appeared in the Anderson Valley Advertiser September 2010


Walton’s Favorite Films

(not including all the Marx Brothers movies, a Buster Keaton or two, a few Capra films, The Maltese Falcon and several other great oldies, and a few inexplicably appealing teen flicks; and I’m sure there are others evading my memory at the moment)

AMARCORD (Italian)

AMELIE (French)

ANTONIA’S LINE (Netherlands)

APPRENTICESHIP OF DUDDY KRAVITZ (Canadian)

BABETTE’S FEAST (Danish)

BAGHDAD CAFE

BEDAZZLED (the original with Peter Cooke and Dudley Moore)

BETWEEN THE LINES

BIG NIGHT

BIG PICTURE, THE

BILLY ELLIOT (British)

BLAME IT ON FIDEL (French)

BRAZIL (British)

BREAD & TULIPS (ITALIAN)

BROADWAY DANNY ROSE

CALCUTTA: THE BLACK HOLE (French)

CAREFUL HE MIGHT HEAR YOU (Australian)

CENTRAL STATION (Brazilian)

CHOCOLAT (CAMEROON)

COLD COMFORT FARM (British)

COLOR OF PARADISE, THE (Iranian)

DAY FOR NIGHT (French)

DEFENDING YOUR LIFE

DEPARTURES (Japanese)

DIVA (French)

DOMINIC AND EUGENE

DREAMKEEPER

DREAMS (Japanese)

EXOTICA (Canadian)

FAST RUNNER, THE (Inuit)

FLIRTING (Australian)

FRENCH TWIST (French)

GADJO DILO (Gypsy)

GIRL, INTERRUPTED

GODS MUST BE CRAZY, THE (South AFrican)

GREEN RAY, THE (FRENCH)

HAIL HAIL ROCK’N ROLL

HEARTS AND MINDS

HORSE’S MOUTH, THE (British)

HOWARD’S END (British)

I HAVE HEARD THE MERMAIDS SINGING (Canadian)

I NEVER SANG FOR MY FATHER

IF (British)

IL POSTINO (Italian)

INSIGNIFICANCE

JACKNIFE

KING OF HEARTS

KING OF MARVIN GARDENS

KING OF MASKS (CHINA)

LANDLORD, THE

LATCHO DROM (Gypsy)

LIFE IS BEAUTIFUL (Italian)

LIFE IS SWEET (British)

LIVING IN OBLIVION

LONELY HEARTS (AUSTRALIA)

MAN FACING SOUTHEAST (Argentina)

MISSISSIPPI MASALA

MOSTLY MARTHA (German)

PLAYBOYS, THE (British)

ROOM WITH A VIEW (British)

SALAAM BOMBAY

SEARCHING FOR BOBBY FISCHER

SECRETS & LIES (British)

sex, lies and videotape

SHINE (Australian)

SMOKE

SPINAL TAP

STARDUST MEMORIES

STRAIGHT STORY, THE

STUNT MAN

TALK TO HER (Spanish)

TANGO LESSON, THE (British)

THE BAND’S VISIT (Israeli)

THELMA AND LOUISE

THIEF, THE (Russian)

THIEVES (French)

32 SHORT FILMS ABOUT GLENN GOULD

TOTO LE HERO (French)

TRULY, MADLY, DEEPLY (British)

12 MONKEYS

TWO OF US, THE (FRENCH)

UN COER EN HIVER (French)

VINCENT AND THEO

VOLVER (Spanish)

WALKING AND TALKING

WHAT’S LOVE GOT TO DO WITH IT?

WINGS OF DESIRE (German)

YEAR OF LIVING DANGEROUSLY (Australian)

YOUNG FRANKENSTEIN

ZORBA THE GREEK

~~

2 Comments

Just the other night I tried to watch Glengary Glen Ross again. I consider it a great film mainly because of Jack Lemmon’s incredible performance of an older salesman trying all the tricks of the trade to make a sale and survive. It is Darwinian Capitalism boiled down to a small real estate office of desperados waiting for leads. I had to stop watching it… so devastating. A great, great play and film.

I mostly just watch stuff I find after exhaustive searches on Netflix watch instantly. Three surprises recently were:

Outsourced – a comedy about a clueless middle manager sent to India to train people there to do his job. Funny and deep, and speaking as a Western friend of India, respectful.

The King of California – Comedy about young adult daughter dealing with wacky dad. Made me more sensitive about the situation of my adult daughters. Mike Douglas seems to be playing himself.

Whatever Works – comical depiction of curmudgeonly misanthrope. I identity.

herb

Follow

Get every new post delivered to your Inbox.

Join 4,546 other followers